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1980 classic slice of American punk rock contains three singles, ‘Kill The Poor’, ‘Holiday In Cambodia’ and
‘California Über Alles’. The album has been remixed for this 2022 reissue and contains new extensive liner notes.

Released by Butter Sessions and Noise In My Head who are also known for their offshoot Efficient Space (Sky Girl, etc) - All Exclusive Tracks! Scratching the surface of Australia's independent electronic massive, Butter Sessions and Noise In My Head finally compile the second volume of Domestic Documents. Featuring all exclusive tracks, Perth godfather Ewan Jansen joins new WA blood Phil Stroud and Senate, respectively making hectic percussion tracks and hell bent techno, as Newcastle transplant Roman Nails emerges with his squelching one take tape experiments. Meanwhile in Melbourne, Fia Fiell's ambient mind maze and Butter Sessions alumni Booshank target the cerebral cortex, Hotrod goes full turbo and live/DJ wingmen Miris and Norachi share the same side of their vinyl debuts (alongside the freakishly underrated Colours of Infinity - aka Kloke). Kangaroo Skull and Cale Sexton fly the flag for Temporal Cast, the latter on a calming club collab with Sleep D. - Liner notes from Ivan Smagghe and artwork from Misha Hollenbach (Perks and Mini) - Features many rarities reissued for the first time ever (Karen Marks' most wanted Australian cold wave single last sold for 290€ while Once traded for 170€) - All tracks officially licensed, sourcing original masters when available - Includes digital download

The world of UKG is as fruitful as ever right now and someone who continues to make fresh moves in it is IsGwan, a Melbourne/Naarm-based artist adding his own twist to the classic template. London label Bad Parrot welcomes him for a series of bouncy and bright originals as well as some on-point remixes. 'Next To Me' has low-key groove that skates and scuffs along with a classic r&b vocal from Amber Ferraro, adding the sunshine. There's a slow, more bass-driven heft to 'All That You Want', 'On Your Mind' is sun-baked and blissed out and 'Feel Free' brings more adventurous synth work to a busier framework. Of the remixes, Harvey Sutherland brings his usual sun-facing synth sounds and Rich Ellis makes 'Feel Free' into a more dark and gritty low-end workout.

Berlin’s mpeg returns to R.A.N.D. Muzik Recordings to celebrate both the label and artist’s firs LP - a journey through mpeg’s take on tech house, crafted for the dance floor but losing nothing heard in solitude through one’s headphones.

Veteran Japanese electronic music producer, AKIO NAGASE, a leading player in the Kansai underground music scene since the late 1990s teams up with Yukino Inamine, a gifted and young female singer from Okinawa who magically mixes traditional Ryukyu (Okinawa) folk songs with her sanshin (Okinawan Shamisen) playing into the modern age, to create this wonderful collaborative album, Yugafu ai KAJI. This album is set to be released on GLOCAL RECORDS, a record store/ record label run by Genta Minowa, an ex-staff at the record store, Disc Shop Zero in Shimokitazawa, Tokyo and who still continues to introduce a great selection of dubby, club music from his HQ in Harajuku.

AKIO NAGASE regularly organised parties at his own venue, as well as ran a record store of the same name while actively being part of the Kansai scene at legendary clubs such as Tsuru no Ma, Sound Channel, etc., the best of what was offered in the Kansai underground dance scene in the 2000s.

As an artist, he released his own productions out of labels such as Sound Channel and RUDIMENTS run by Minowa. His album, Make Dub was released in 2003 out of the label, Sound Channel featured an innovative, techno meets dancehall track, Dance Hall King which connected techno, acid house with reggae and dub. This album is an undiscovered gem whose sound still emulates freshness and originality today (my wish is for it to be reissued on vinyl!) After a brief hiatus of releasing music, he released the EP, Delusion out of Chillmountain Records, a label run by his friend, Ground in 2018 and at his own leisurely pace, he has been slowly but surely releasing material that oozes originality, expressed through a robust acid sound and a variety of elements such as afro and Ryukyu folk music that is then incorporated into the medium of dub. Recently, he has also started to gain international attention by releasing original material and remixes out of labels such as the UK label, Emotional Especial, etc.

For this album, NAGASE teams up with Yukino Inamine who brings her own distinctive singing and sanshin playing magic into this collaboration and they fuse electronic music sounds with Ryukyu folk songs to create this wonderfully imaginative album that has no precedence or equal. Apart from the song, Ishikawa Koiuta, all other songs are covers of Ryukyu folk standards that were handpicked by NAGASE from the repertoire of songs that Inamine regularly performs live. They met up when NAGASE was commissioned to remix one of her original compositions, Miyagi Kaigan that was released in 2023 and that evolved into a collaboration with a concept that mixed Inamine singing Ryukyu folk standards with a backing tracks produced by NAGASE. Whenever she went to the the Kansai area, she would work on the basic track material created by NAGASE at the dub master of Osaka, Soulfire’s studio, HAV who would then additionally edit her takes to create the finishing tracks.

This album, Yugafu ai KAJI opens with Shirahamabushi, a track that slowly builds with an interesting mix of slow acid techno and sanshin and then moves onto the easy-going electro dub of Tinsagu nu hana (it is actually a cover of the track of the same title that first appeared in the label sampler, Comuni ó n Especial that was released on Emotional Especial. NAGASE initially wanted to feature Inamine on vocals for this track but due to scheduling issues, it did not happen but with good fortune, the new version of this track is now included in this album). A side closes with the optimistic Balearic sounds of Tsuki nu Kaisha that converges immaculately with slow-mo steppers. It is also worth noting that the person who introduced NAGASE to Inamine was the Okinawa dub master, HARIKUYAMAKU. They met at a concert held by both him & Yukino Inamine hosted by BUN BUN THE MC at the venue, RAGGA CHANNEL. From this encounter, this album came into fruition and they also asked HARIKUYAMAKU to produce an earthy, traditional rootsy, dub version of Tsuki nu Kaisha that is included as the 3rd track on the B Side.

Ashimizubushi, the track that magically blends old school Chicago house ala TRAX with Ryukyu folk music starts off the B side and it carries on to an uplifting track with a Skaouse (ska + house) feel, Hounen Ondo. Inserted after HARIKUYAMAKU’s dub of Tsuki nu Kaisha, this album closes out with the song, ‘Ishikawa Koi Uta’, the only song written by Inamine who said that she wrote it after falling in love with chill-out music. It is an ambient dub track with a collage like flavour, reminiscent of early The Orb (remixed by Mad Professor) and the latter half of the track finishes off with a message presented by Masao Itokazu (her uncle) who received tutelage from the prior owner of her sanshin that Inamine plays, Moritomo Inamine (her grandfather).

Incidentally, the album title, YUGAFU ai Kaji is derived from an auspicious word from Okinawa, Yugafu which means fruitful year, happiness, prosperity and ai (indigo) is a word that Yukino found inspiration few years ago (she wears a Okinawan indigo clothing called kinonuno in the front cover of this album).

The unique indigo colouring produced by nature overlaps with the unique charm of the human personality, and she wanted to present that current along with the music so the name was integrated to ‘indigo wind’, and the two were connected to form the album title, ‘YUGAFU ai Kaji’.

The photo of the front cover was taken by a young, Uchinaanunishie—- (meaning a boy from Okinawa) 17 year old photographer named Ratio and the designer of this album is Anmonaito who is a childhood friend of Inamine who also did the artwork for her album, Miyagi Kaigan. And the mastering and cutting of this album was done by Rei Taguchi.

The cosmology existing in Yukino Inamine’s singing is fully amplified by AKIO NAGASE’s spacey, abundant with many ideas, dance machine beat~ambient music and all of these elements are organically linked by the adhesive effect of dub.

Dompe presents French Collection 2: A journey through funky house, disco house and French house


After the successful first part of his French Collection, Dompe sets new standards with the sequel and brings a breath of fresh air to the house scene. French Collection 2 skillfully combines the pulsating rhythms of funky house, the nostalgic vibes of disco house and the iconic melodies of French house - all with Dompe's unique style.


This album is a musical homage to the golden years of 90's house, combined with modern, funky grooves that will conquer any dancefloor. Dompe proves once again that he is a master of the genre, making the perfect connections between driving basslines, smooth funk guitars and catchy vocals. Every track on French Collection 2 is designed to evoke nostalgic memories as well as inspire today's dance-loving generation.


Dompe manages to preserve the spirit of the classic 90's house scene while adding a modern twist. French Collection 2 is a must for all fans of the genre - and for anyone who simply wants to experience the funk and energy of a great house album.

Celebrating 40th anniversary of Yves Deruyter's musical career with this 10 x 12" Vinyl Box Set. Including tracks from F.U.S.E. vs LFO, Tronikhouse, Robert Armani, L.S.G., Edge Of Motion, Plastikman, The Prodigy, Ecstasy Club, and the master himselfYves Deruyter.



Yves Deruyter - 40 Years at the Pinnacle of the Night

Forty years. A rollercoaster of a musical career, meandering through five decades, leaving timeless marks on the collective dancefloor memory. Yves Deruyter is the exception that proves the rule. An icon behind the decks, celebrated far beyond national borders for his legendary sets, impeccable musical choices, and the anthems released under his name. The result of collective effort, where Yves, with his vision and unique touch, consistently left his mark-transforming good tracks into inescapable bombs that still resonate through time.

If you've spent forty years living to the pulse of music, the night is in your DNA. Yves Deruyter, a DJ to the core-the real deal. The man who bent the night to his will, dragging weekend vibes into the workweek like a warrior, a true master behind the turntables who made his people dance. His beats: the oxygen that generations lived on.

Yves sharpened his musical weapons in the early '90s within the iconic afterparty scene of Barocci and The Globe-places that became sanctuaries in Belgium's endless night. Here, die-hard dancefloor warriors, cutting-edge music lovers, and night owls from the four corners of the globe gathered. They willingly followed Yves' masterful mixing and his razor-sharp set construction. Clubs with a more conventional timeframe were the next step, with the iconic Cherrymoon as his home base for years-alongside endless guest DJ spots and global gigs. From there, the underground pulsed through Yves' hands and crates, reaching ever-larger crowds-without ever compromising for commercial or crossover sounds. Yves stayed true to his choices, lifting his audience to euphoric heights like a craftsman, armed with his hits, hidden gems, and freshly unearthed nuggets.

From the pounding energy of Rave City to the flippy, epic flashes of Calling Earth-tracks that not only captured the spirit of the times but conquered dancefloors worldwide. This isn't just music; it's a time capsule-a connection between generations and a reminder of the energy from a golden era.

With musical partners like Roel Butzen, Frederico Santini, M.I.K.E. Push, and more recently, Insider, Yves forged a sound that etched its place into rave and dance history. From The Rebel to The House of House, parts of Yves' musical taste have become immortal pillars of dance music heritage. In the early rave days, he topped Belgium's DJ rankings year after year, elevating every club he played to the highest echelons of popularity. The same held true for the records where his name appeared like a badge of honor.

From The Globe to the globe itself-it seemed almost written in the stars. Yves, thestar DJ, became one of the instigators of the electronic music storm that put Belgium on the global map-a storm that never subsided. Festivals like Love Parade, Mayday, I Love Techno, Nature One, and Tomorrowland saw Yves as a trusted force, effortlessly commanding crowds and turning dancefloors inside out. Forty years later, that storm still ignites partygoers, vibrates through dancefloors, and keeps entire generations moving.

Even today, Yves still holds a steady residency with Yves Deruyter and Friends at Club Moustache, where his concept always sells out. Here, both fresh talent and seasoned DJs deliver a killer blend of modern electronic dance music and timeless classics, creating an atmosphere that hooks the crowd every single time.

Because partying doesn't need an excuse. But forty years? That deserves the spotlight-not as a mere milestone, but as a showcase of timelessness. Music mutates, reinvents itself for new generations, yet retains the same impact as that very first time. Yves proves that forty is just a number, and relevance isn't about trends-it's about vision, energy, and an unmistakable touch. His sets? Indestructible. His sound? A heartbeat echoing through time.

And Yves? He doesn't live in the past. Today, Yves distills those four decades into a compilation capturing the essence of his career. Belgian beats, interpreted and refined into a sound that powered raves around the world. Ten vinyls featuring not just a fiercely curated selection that contextualizes the magic of his early days, but also new versions of three unbeatable anthems-potent hits designed to turn dancefloors upside down in wonder, without losing a shred of their soul. Yves remains a beacon in the night, a searchlight for that one perfect beat-always relevant, always chasing that magical moment.

Yves Deruyter-a name spoken in the same breath as the greats of the scene. A ten-vinyl compilation is more than a celebration; it's a well-earned trophy. As unique, indestructible, and uncompromising as the man himself.

Studio Barnhus proudly presents this debut full-length record from the Jimi Tenor & Freestyle Man project, the fruit of the joint labour of these two undisputed legends of electronic music. Building on their catalog of work for labels like Warp and Sähkö, these Finnish heroes have blessed
Stockholm imprint Studio Barnhus with regular releases since 2017, this LP being the finest example thus far of their classic yet always fresh sound.

2024 Repress

Straight in the wake of their eponymous debut LP released on the label back in 2016, Weval return to Kompakt this year with their sophomore album, 'The Weight', breaking their pop-mellow, nostalgia-friendly facet further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously coloured mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them - more playful and unpredictable - which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toys synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box - which for us was a totally new way of working". "We've always wanted a narrative for the album, and finding the right order perhaps took the most effort" they explain; "we felt anxious, felt insanely positive, felt heartbroken again, felt in love again, and there was death, and even suicide around us. It was quite chaotic. As a whole, 'The Weight' breathes with that transformative richness, free of limits and rules, except perhaps to "do quick and not think too much". Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music - one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life - from the most euphoric to those when music seems the only viable healing potion. More on the post-KLF, BoC-inflected electronica side of things, 'Are You Even Real' takes its listener for a round-trip across the star-studded dome and beyond, before songs like 'Someday' and 'Same Little Thing' head back down to a state of pulsating, earthly organicity, tense and mercurial as get. An arpeggiated slice of piano-strewn kosmische, 'Heaven' is another invitation to an epic-scale odyssey from the inner-spheres into the distant fringes of the outer-world. Weightless and airy, yet texturally dense and widely magnetic overall, Weval second LP is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
Nur zweieinhalb Jahre nach der Veröffentlichung ihres selbstbetitelten Debutalbums finden sich WEVAL zurück "an jenem Ort, an dem sich alles spontan, neu und aufregend anfühlt - so wie als wir anfingen zusammen Musik zu schreiben". An diesem Ort entstand "The Weight", ihr zweiter Longplayer, auf dem Weval sich ganz den Pop-verliebten, Nostalgie-freundlichen Facetten ihres Sounds öffnen. Stetig um den sehnsuchtsvollen Strahlenkranz ihrer Melodien tanzend, legt diese Platte noch vielschichtigere, mit feinster Präzision gewobene Gefühlswelten frei.

Obwohl die Aufnahmesessions nach eigenem Bekunden oftmals "miesepetrig und emotionsarm" begannen, so war das Duo überrascht darüber, wie schnell sich bei der Arbeit jene Freude einstellte, die sie aus ihren künstlerischen Anfangstagen kannten, eine Woge des frischen, naiven Gefühls der "absoluten kreativen Freiheit". Dieses Album ist die Frucht eines verspielteren und unvorhersehbareren Arbeitsprozesses innerhalb der Band, in welchem alles zum Einsatz kam, was ihnen in die Finger kam - von der ollen Gitarre, die in der Studioecke stand, über ein Piano und den bandeigenen Sythesizern und den sonderbarsten Spielzeuginstrumenten, die man sich vorstellen kann. All dies sowie zahlreiche Vocalaufnahmen dienten als alleinige Samplequelle - "was für uns eine völlig neue Arbeitsweise war". "Es war uns wichtig für das Album den perfekten Erzählbogen zu spannen. Die richtige Reihenfolge zu finden war ein extrem aufwendiger Vorgang", erklären Harm und Merjin. "Uns war bange, wir fühlten uns total selbstsicher, uns zerbrach das Herz und wir verliebten uns erneut. Wir waren sogar von Tod und Selbstmord umgeben. Alles war Chaos. Insgesamt atmet "The Weight" die Reichhaltigkeit dieser sich ständig verändernden Gefühlslagen, frei von Einschränkungen und Regeln - außer vielleicht "mach es schnell und zerdenke die Dinge nicht." Inmitten dieser Ansammlung von Songs und Instrumentals, die aus Wevals einzigartiger, von Zuversicht geprägter Herangehensweise entstanden sind - "Musik, die dich hochzieht und Hoffnung spendet, ohne dich notwendigerweise happy zu machen. Der Titeltrack "The Weight" steht exemplarisch für Wevals ambivalenten Ansatz, die feine Balance zwischen Dancefloor und Traumzuständen, perfekt in Szene gesetzt von Soundengineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.).

Der schwer aus gewaltigen Gewitterwolken tropfende Funk, die eine verhaltene Poolparty suggerierenden Riffs, die sinnlichen, geisterhaften Vocals und ein verwaschenes Ambiente, das wie ein Album alter Polaroidaufnahmen alle erdenklichen Momente des Lebens festhält - von den euphorischsten bis hin zu jenen, in denen Musik der einzige Trank ist, der Linderung verheißt. Das post-KLF und Boards of Canada evozierende "Are You Even Real" führt den Hörer auf einen imaginären Flug ins Sternenzelt, während organisch-klingende Songs wie "Someday" oder "Same Little Thing" wie Quecksilber am Boden haften. "Heaven" ist eines jener "kosmische" Stücke mit wilden Arpeggios und Pianosprengseln, die Weval in den vergangenen zwei Jahren zu einer Live-Sensation werden liessen. Wevals Musik ist schwerelos und luftig, aber gleichermassen von dichter Struktur und von einer magnetischen Anziehungskraft. Ihr zweites Album "The Weight" ist eine Synthese aus dem multi-perspektivischem, kaleidoskopischen Verständnis von elektronischer Musik: Herzerwärmend, alles umschmeichelnd und unendlich frei.

Repress!

One of the keys to Nervous’ longevity has been our willingness to take chances on new producers and new sounds. As long as a track contains the essence of House, we encourage producers to experiment with combining House with other musical genres. And if the results are creative and fruitful enough we are always ready, willing and able to create a new sub label and logo to go along with a fresh sound.

In the 90’s we felt a movement toward House being juiced with Jazz elements and we created the Nervous Chill Sub-label. Now all these years later we are once again seeing a new appreciation for the sounds, flow and energy of Jazz on the part of some of the world’s premier House Music Producers, and so we are embarking on a re-launch of the Nervous Chill imprint.

Onboard for the re-launch is the very talented and dynamic producer Felipe Gordon with the two tracks “Elisa” and “Resonant.” Both songs feature the legendary musician Paul Shapiro, who has played a key musical role in many of House Music’s most celebrated tunes including “The Whistle Song” for which he supplied the eponymous “whistle.” “Elisa” features an uplifting and bouncy rhythmic vibe that’s topped and energized with Paul’s jazzy flute, while “Resonant” has a deeper and slightly more aggressive tone that’s propelled with Paul hypnotic and free wheeling sax instrumentation.

Repress!

In May 2018, Belgium's Amelie Lens launched LENSKE, the fruit of working on new music and collaborating with her peers. The aim was to create a platform to release her own and friend's music that they use to tear apart dance floors around the globe. Less than two years after, LENSKE is putting out their 10th release and it's evolved into something more than just a label, but a family.

During this relatively short time, the prolific crew formed by Amelie Lens, Farrago, Milo Spykers, AIROD and Ahl Iver have released a collection of contemporary anthems, storming techno cuts and acid weapons. The imprint's catalogue illustrates their exploration for a shade of techno particularly focused on the hi-NRG factor. You can usually catch them at the Exhale showcases worldwide - at the likes of fabric London, Off Sonar in Barcelona and Dour in Belgium- testing their new productions that the crowd highly anticipate for their release.

For this fresh record, each artist contributes a track for a mini VA compilation showcasing the label's sound. Belgian producer Milo Spykers opens up with 'Traversing', a heavy-hitting cut with a ravenous sound design. Hot on the heels of her recent compilation for the fabric presents series, Amelie Lens steps up with her brand new tune 'The Future' featuring energetic synth hooks with her signature vocals. AIROD goes ravey with 'Divine Power' introducing jungle elements, while on the other side, Farrago delivers a catchy vocal-led slammer with 'Step Up'. Ahl Iver, the newest addition to the label, brings the final touch with the intoxicating 'Night Creature'. The future is bright!

Cause we love Vinyl..... Here is the first Vinyl from the Label JACKFRUIT RECORDINGS, a new label founded in 2017. Label Owner is the Berlin based Artist, DOMPE, known for good arranged House Sounds. He releases a lot, a real creative mind. Four handmade tracks can be found on the Vinyl. THE JOKER: Do you need a Joker Deep and warm Techhouse-Bassline So who is you favourite Buffoon now Risky grinning attitudes sounds you have to hear loud. After that bomb it's time for an new experience: It's time to Boogie. 1,2,3,4 what are you waiting for Move your Body to the Groove. CRY: snappy sounds, a necessary amount of percussions and a beat that makes you teeter along. FREE BIRD: Here are some very new House Beats for you! It is really time for some spring feelings, so the sounds go fresher! And it feels like hearing the bird singing, sitting in the sun meanwhile. Real Groove comes through your Speakers - turn is loud! Percussions make you hooo. So shake your body once again and dance until the spring is coming. JACK BROWN: Hey Sweetheart you are such a hot fruity! Another brilliant cooperation between AGENT! and DOMPE and as it is common: never change a winning team! These both guys living in Berlin are not only Friends; they got a perfect match with their sounds and ideas. Soundaholics with playful whims in their heads. There is a rumour that JACK BROWN gives his Name to JACK FRUIT. Not really just kidding. JACK BROWN makes you dance, drags u to the middle of the floor. Charming Bassline, Vocal and a direct urge for snipping your fingers.

Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound.

The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of ‘in-between music’.

Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yu’s prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell.

With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new.

Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light.

Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with ‘A Jewel’. The dusky, reverberant underwater minimalism of ‘Sunless’ follows, which features British composer Memotone, and was influenced by Chris Marker’s 1983 film Sans Soleil.

The dubby, sunkissed affirmation on ‘Cul De Sac’ leads to the thumping acid stomp of ‘Foundry’, and onto the hazy glow of ‘One Place After Another’, featuring lauded soundheads Seefeel, where Yu’s voice is joined by Sarah Peacock’s, alongside Mark Clifford’s seductively gauzy fuzz guitar.

Venturing into more ominous territory is the liminal ambient dub of ‘Wanli’, followed by the rich textured flutter of ‘Os Cionn’, which translates from Gaelic as ‘above’. The album ends with the reflective, processional pulse of ‘Ripe Fruits’, which was inspired by Frederic Leighton’s 1892 oil painting The Garden of the Hesperides.

The LP’s visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yu’s spatial sonics: “We both think in layers”, she comments. “Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.”

Mastered by Miles

Art by Lucas Dupuy & Brendan Ratzlaff

Nick Holder’s Iconic ‘Dance, Dance, Dance’ Finally Arrives Digitally with New Remixes from Jason Hodges and Trackheadz.
Definitive Recordings proudly presents a long-awaited milestone: the first-ever digital release of ‘Dance, Dance, Dance’ by Nick Holder’s Fruit
Loops project, originally released in 1995 and repressed countless times on vinyl since. This timeless house anthem, a pure expression of discodriven groove, now returns remastered and refreshed — accompanied by two brand-new remixes from fellow Toronto house legends Jason
Hodges and Trackheadz.

The original version of ‘Dance, Dance, Dance’ captures the raw magic of mid-90s house — a stripped yet irresistible jam that fuses classic 70s
disco sampling with a deep, rolling bassline and a straight house groove. It’s simple, it’s soulful, and it’s pure disco-house sexiness.
Jason Hodges delivers a playful rework that modernizes the cut while keeping its soul intact. His remix adds shuffled percussion, chopped vocals,
and a subtly reworked bassline — injecting a fresh rhythmic twist that stays true to the track’s roots while enhancing its dancefloor punch.
Trackheadz then takes the track into deeper territory, layering lush synth chords, organ lines, and sweeping strings over a steady, hypnotic build
— a masterclass in musicality and atmosphere for the late-night crowd.

A true veteran of Toronto’s house scene, Nick Holder rose to international acclaim in the late ’90s and early 2000s with releases on Definitive,
NRK, Stickmen, and Studio K7, shaping the sound of deep and soulful house. As the founder of DNH Records, he’s been a driving force behind
countless underground classics, including ‘Da Sambafrique’, ‘Trying to Find Myself’, and ‘Summer Daze’.
Jason Hodges, another staple of the Toronto underground, is known for his tough yet groovy sound that bridges New York swing and Chicago
grit. Having remixed the likes of DJ Sneak, Derrick Carter, DJ Heather, and Kaskade, Hodges continues to be a name synonymous with timeless,
floor-filling house. Trackheadz, helmed by Kaje Trackheadz, brings decades of experience in blending sweet strings, soulful brass, and deep club
energy. Responsible for underground staples like ‘Our Music’ and ‘Feel’, he has remixed everyone from Todd Terry to The Sunburst Band, and
continues to expand his vision through Trackheadz Records.

Nearly three decades on, ‘Dance, Dance, Dance’ still grooves as hard as ever — now revitalized for the next generation of house lovers.

Yesterday it started to rain…

The smell of damp tarmac rising up through open windows, a smell which is uniquely evocative for us all depending on our individual histories: a suburban pavement, a school playground, a basketball court.
The rain cut through a band of low pressure that had been lying over the city for days, pinging rhythmically off metal, causing rolling tyres to hiss and spit.

The music that soundtracked this meteorological shift was the debut full length from Rain Text (Giuseppe Ielasi & Giovanni Civitenga), simply titled III. Scattered throughout the nameless eight tracks there are moments of low-end pressure relieved by the fizz and clatter of metallic rhythms; there is static, there is discord, there is release.

The individuals comprising Rain Text have a long history of manipulating sounds for evocative ends, Giuseppe Ielasi has been making music as one half of Bellows for many years, each album stretching and destroying their sound in beautiful increments. He has also released reliably inspirational music either solo or in collaboration for the likes of Editions Mego, Shelter Press and Faitiche. His sensitive ears are also in high demand as a mastering engineer. It is worth perusing the 800+ releases he has technical credits for on Discogs: from classics of the avant-garde to the freshest faces of the Swedish underground, the chances are some of your favourite albums are included.

Giovanni Civitenga helms the SKYAPNEA long-running NTS show. Joining him, you can enjoy the fruits of a lifetime of deep listening through shows that flit between the industrial and the devotional, a space that is fully explored on III.

The album was recorded quickly over three fertile days in Ielasi’s studio in Monza, but of course results like this can only be achieved at such a pace by spending a lifetime obsessing over the mechanics and possibilities of sound.

Those who are enamoured by the rain—who are returned by it to the surfaces, smells and sounds of a lost and idealised youth; who feel themselves restored—are known as ‘pluviophiles’. Their response to rain may well have a biological explanation: when rain hits tarmac negative ions are released into the air, which are thought to result in feelings of wellbeing and positivity. All the more reason, then, to return to the vivid ecosystem that Rain Text has so carefully cultivated for III."

Words by The Dengie Hundred – August 2024

Belgian producer and DJ Ethan Fawkes returns with Funky Raver, a vibrant six-track vinyl release that channels the spirit of 70s funk and disco through a modern electronic lens. It features three originals alongside remixes from Victor Muerte, A.Fruit and Nite Fleit.

Fawkes, known for pairing raw rhythm with emotional punch, dives headfirst into the golden age of groove and rebuilds it for today's dance floor. The result feels warm and energetic, fresh take that nods to disco's roots while pushing forward.

Each remixer takes the core idea in a new direction without losing its heartbeat.

Victor Muerte takes "Funky Raver" track into a remix out a driving techno rework marked by hypnotic whiper repetition. It taps into the darker side of the groove, building steady pressure and giving the release a powerful late-night edge.

A.Fruit flips her version of "Get the Groove" into a fast, broken beat-driven workout full of tight percussion and futuristic low-end, giving the original a kinetic bass-forward storm that keeps the momentum surging.

Nite Fleit, the producer with a reputation for bold, genre-blending club tracks, injects her remix with electro pressure. She delivers a high-voltage version of "I Misplaced You" to take that turns the funk foundations into pure rave.

Taken together, the originals and remixes trace a full arc, from glittering disco lights to the throb of the warehouse. Funky Raver is a celebration of groove, motion and emotion. A reminder of how timeless dance-floor energy can be.

Roughly three years after the release of Balts, Schreel Van De Velde’s debut album on Blickwinkel, the guitar and drums improv-centered duo is happy to present their sophomore album A One And A Two.

The Brussels-based musicians sound more decisive than ever: the loud became louder, the quiet became quieter, the weird became weirder and the nostalgic became more nostalgic. The fruit peeled off one of its own shells, getting closer to its heart.

The album came about as a result of 2 separate studio sessions. For a first one, they restricted themself to solely electric guitar and drums, without overdubs, and with most songs ending up as one-takers. A second one took place some months later in a different recording space, using classical guitar with a matching small, cute drum set-up.

On both sessions, the duo played the same compositions, with some additional improvisations. Afterwards they made a blend of both sessions, mixing both energies: A One And A Two. A new language, organic and well-considered, was found.

Throughout the album, touches of minimalism, American primitivism, free-improv, and 90s indie rock can be found, but always within the limits of Schreel Van De Veldes freshly found voice: one that combines sentiment and cerebrality, overview, playfulness and mystery.

Lucas Schreel is a classically trained guitarist based in Brussels. His first solo album We're Never Afraid of Getting Up Every Morning was released through Sentimental Records in 2019 and was well-received both in written-press (Humo, Enola & Indiestyle) and radio (Duyster, Radio 1 & Klara). Besides his solo work, Schreel is also a member of the lo-fi indierockband Kloothommel.
Acclaimed Brussels percussionist Casper Van De Velde made quite a name for himself through his bands like SCHNTZL, Bombataz, Donder among others. His work received prices at International Jazz Contest d’Avignon and Storm! Contest (Jazzlab). Casper is currently also a member of the recently formed An Pierlé Quartet.

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.” To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist / vocalist Holden and drummer / keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal.

Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. “I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”

Released here for the first time on vinyl, Science-Fiction is one of Mazalda's early albums, originally released in 2008 on CD only. Mazalda is a legendary band for anyone who's been to French venues and festivals in the last 20 odd years ; the Lyon-based collective have played – literally – thousands of shows, always with a high level of breathtaking musicianship, sensitivity and energy.

Although mostly known for their fruitful collaboration with raïsinger Sofiane Saidi in the late 2010's, Mazalda started off as a street brass-band circa 2001. Soon, they integrated specific modern elements to their sound : 70's analog synths, psychedelic guitars, electric mandoline, Wurlitzer piano, Ewi electronic saxophone.

Stéphane Cézard, Mathieu Ogier, Lucas & Adrien Spirli, Gilles Poizat and Julien Lesuisse were influenced by numerous styles of instrumental music from across the Eurasian continent since their teenage years ; yet with Science-Fiction they broadened their field of inspiration to both pop and experimental horizons. Gilles Poizat (Orchestre Tout-Puissant Marcel Duchamp) and Julien Lesuisse (Crimi)'s clear and melodic vocals pair with a great sonic depth created by the countless possibilities of instrumental combinations.

Mazalda chose to record a handful of cover versions such as the majestic opener " Thu Og Eg " by Icelandic prog musician Gunnar Thordarson, or a funk-fuelled version of a 1920's protest song by Neapolitan singer Alfredo Bascetta. A majority of the selection, though, is masterfully penned by members of the band.

Science-Fiction captures the fresh and boundless creativity of a young band of mates who, as well as being top-rank interprets, draw unique inspiration from timeless musical wells. It just wasn't fair that this album never got released on vinyl or online. Meanwhile, Mazalda are still alive and well, as they released their latest album Special Key in 2023 (Airfono) and are currently playing shows across France and Europe with Franco-Egyptian singer Hend Alrawy (Orange Blossom) as "Zerzura".

Saxophonist, flautist and producer Chip Wickham casts a formidable shadow across the worldwide jazz landscape. Originally from Brighton, but now dividing his time between the UK, Spain and the Middle-East, he has made a name for himself with a series of beautifully crafted solo albums that draw equally on the hard swinging spiritual jazz of Roland Kirk, Yusef Lateef and Sahih Shihab, alongside the music of British jazz legends such as Tubby Hayes and Harold McNair and the more contemporary sounds of Jazzanova, Kyoto Jazz Massive and Robert Glasper. His close working relationship with Matthew Halsall’s Gondwana Records has spanned close to two decades (since he played on Halsall’s 2008 debut ‘Sending My Love’) and has since released three standout releases on the label (the ‘Cloud 10’ LP, and the ‘Astral Travelling’ and ‘Love & Life’ EP’s). Once again returning to the heralded label, he now prepares to release his elegant fifth studio album ‘The Eternal Now’. Further exploring his penchant for hard-hitting soulful, spiritual jazz and modal hard-bop, it denotes an exciting new chapter in his much- revered discography, once which sees his unbridled artist flourish into new and fruitful pastures.

A beautifully crafted record, ‘The Eternal Now’ is a heartfelt ode to submitting oneself to the practice of creating art, and the freedom that’s derived from letting go. Speaking on his journey to bringing it into the world, Chip explains “The Eternal Now is a creative place where time has no purpose. A place where the past and the future don’t exist. A place where an artist can create something that is timeless and relevant. Writing this album has been a deliberate journey of exploration and drive into the furthest reaches of creativity. An attempt to push myself artistically into new spaces using new colours and new energy”. On how he approached this record in comparison to his previous offerings, he divulges ‘I had to be playful and take risks. It has taken longer than any other album to make and it has been so worth it. I have been drifting and taking the road less travelled as well as not looking back. I’ve enjoyed being on the outside and the freedom it has brought me to create something new and fresh and relevant and timeless.’

After a three-year hiatus from releasing new music, Błoto knew they had to make up for the long wait with a flood of fresh material. Their fruitful recording sessions at Studio Pasterka produced a wave of new tracks—like mushrooms springing up after the rain. These sessions have already brought us two 7" singles, the Grzybnia LP, and now, rounding off this chapter, comes the final piece: the album Grzyby (eng. Mushrooms).

Anticipation for new Błoto releases reached a fever pitch. Vinyl collectors quickly snapped up all copies of the singles Szlam / Ścieki and Bakteria, the latter featuring a guest appearance by DāM-FunK. In less than six months, nearly all copies of Grzybnia were sold out—setting a record pace for Astigmatic Records. In the meantime, the album was nominated for a Fryderyk Award in the Alternative Music category. Though Grzybnia didn’t take home the prize, Błoto did win a Fryderyk for their track “Godzina W”, featured on the WAWA album dedicated to the Warsaw Uprising. It’s been an electrifying time for the band, filled with shows across Poland and abroad.

Gold nugget vinyl, limited to 350 copies. Even the name is mysterious-Black Honey Cult evokes a sense of intrigue and the otherworldly, a fitting moniker for a band born out of deep roots in Los Angeles' storied underground music scene. The story begins in the early '90s, when Johnny DeVilla and Jake Cavaliere first crossed paths, performing in various bands at the legendary JabberJaw, a hub for raw talent and boundary-pushing sound. Fast forward to 2003, when Spencer Robinson joined forces with Jake and Johnny in The Lords of Altamont, solidifying a creative bond that has endured for decades. Over the years, this trio found themselves collaborating time and again, refining their chemistry and exploring new sonic landscapes. It wasn't until 2010 that Black Honey Cult began to take shape, though the journey to a definitive lineup was a winding road. After several incarnations, the band finally coalesced into its current form with the addition of Garey Snider on drums, and Travis Petersen on guitar, whose contributions completed the puzzle. Jake and Garey, longtime conspirators with a shared desire to work together, brought their vision to fruition, creating a group that feels both destined and uniquely fresh. Drawing inspiration from pioneers like The Velvet Underground and psychedelic icons, The 13th Floor Elevators, Black Honey Cult infuses their sound with shades of early goth, post-punk, and krautrock. The result? A hypnotic, genre-defying blend of dark, atmospheric psychedelia that transports listeners to another plane - like dropping LSD on Mars. The band's sound was brought to life by the legendary Paul Roessler (of Screamers and 45 Grave fame) at Kitten Robot Studios, a perfect match for their haunting and transportive vision. Black Honey Cult stands as a testament to years of collaboration, creativity, and perseverance, offering an immersive experience for those ready to step into their enigmatic world. Prepare to follow the cult and lose yourself in the spellbinding sounds of Black Honey Cult.

Even the name is mysterious-Black Honey Cult evokes a sense of intrigue and the otherworldly, a fitting moniker for a band born out of deep roots in Los Angeles' storied underground music scene. The story begins in the early '90s, when Johnny DeVilla and Jake Cavaliere first crossed paths, performing in various bands at the legendary JabberJaw, a hub for raw talent and boundary-pushing sound. Fast forward to 2003, when Spencer Robinson joined forces with Jake and Johnny in The Lords of Altamont, solidifying a creative bond that has endured for decades. Over the years, this trio found themselves collaborating time and again, refining their chemistry and exploring new sonic landscapes. It wasn't until 2010 that Black Honey Cult began to take shape, though the journey to a definitive lineup was a winding road. After several incarnations, the band finally coalesced into its current form with the addition of Garey Snider on drums, and Travis Petersen on guitar, whose contributions completed the puzzle. Jake and Garey, longtime conspirators with a shared desire to work together, brought their vision to fruition, creating a group that feels both destined and uniquely fresh. Drawing inspiration from pioneers like The Velvet Underground and psychedelic icons, The 13th Floor Elevators, Black Honey Cult infuses their sound with shades of early goth, post-punk, and krautrock. The result? A hypnotic, genre-defying blend of dark, atmospheric psychedelia that transports listeners to another plane - like dropping LSD on Mars. The band's sound was brought to life by the legendary Paul Roessler (of Screamers and 45 Grave fame) at Kitten Robot Studios, a perfect match for their haunting and transportive vision. Black Honey Cult stands as a testament to years of collaboration, creativity, and perseverance, offering an immersive experience for those ready to step into their enigmatic world. Prepare to follow the cult and lose yourself in the spellbinding sounds of Black Honey Cult.

Definitive Recordings is proud to announce the reissue of deep house classic "Liferaft" by Juicy Fruit (aka Meredith Ledger), fully remastered and set to breathe new life into one of the 90s' most iconic releases. Originally dropped in 1993, this EP features the original as well as remixes by John Acquaviva and The Stickmen.

The standout title track, "Liferaft", is a rich and soulful deep house gem, built around a captivating piano house theme that harks back to the golden era of house music. The track's groove is driven by a classic house beat and a funky, rhythmic guitar lick that perfectly complements its melodic core. The fresh remaster brings new clarity to its timeless warmth, elevating it for modern sound systems while keeping the vintage charm intact.

House music legend John Acquaviva takes the funky guitar lick and pushes it further into the groove, layering it with a robust and simplistic bassline. His remix evolves into a deep yet vibrant soundscape, showcasing Acquaviva's signature house influence.

The "The Stickmen Dub" intensifies the original's foundation by supplementing it with a hypnotic organ sound. This remix enriches the track with subtle but powerful layers, creating a mood that's both dancefloor-ready and deeply immersive.

Definitive Recordings is excited to share this release with long-time fans and newcomers alike. Whether you're a die-hard house aficionado or just discovering the classics, the "Liferaft" EP is a must-have addition to any collection.

From his early days signed to Ninjatune as one half of Dynamic Syncopation, Jonny’s love of Hip Hop led to a fruitful collaboration with Atlanta underground legends, Mass Influence, the mighty Chill Rob G, Apathy, EV.ON, Juice Aleem, Phi Life Cypher, Yeshua Da PoEd the list goes on. In 2009 he then went on to form Soundsci with former Mass Influence Emcee Audessey AKA Jack Jones and the Herbaliser’s Ollie Teeba. Soon the crew expanded to include U-George and digger supreme DJ/Emcee Oxygen. The crew released a solid run of LP’s, Ep’s and singles with highlights including Soundsational (Ubiquity Records), the Library sampling ‘My Boosey Weighs a Ton’ (Cavendish Library) and their final LP ‘Walk The Earth’ (Fresh Pressings) with Emcee Supastition joining the roster.

After having helped out his Soundsci crew members U-George, Ollie Teeba and Jack Jones on their solo LPs it is now Jonny’s turn to complete the circle and release his own solo project. ‘The wreckage’ sees Jonny flex his bold yet intricate production style. Carving a new facet into the Hip Hop jewel, expect to hear previously unheard samples and breaks, abrupt breakdowns and exciting rhymes from his circle of friends who lace ‘A’ grade verses over hypnotic drums. The roll call of Emcee’s includes J Scienide, Eddie Meeks from Southern Vangard Radio, Canada’s Ghettosocks and Nilla. NYC stalwart DJ and Emcee Emskee, Jesus Mason and of course his Soundsci brothers: Jack Jones, U-George and Oxygen. The cuts and scratches are provided by DJ Ollie Teeba.

Every track on ‘The Wreckage’ takes the listener on a new sonic adventure and will demand multiple listens to capture the twists and turns Jonny has fed into his diabolical infernal machine, true Hip hop science.

From his early days signed to Ninjatune as one half of Dynamic Syncopation, Jonny’s love of Hip Hop led to a fruitful collaboration with Atlanta underground legends, Mass Influence, the mighty Chill Rob G, Apathy, EV.ON, Juice Aleem, Phi Life Cypher, Yeshua Da PoEd the list goes on. In 2009 he then went on to form Soundsci with former Mass Influence Emcee Audessey AKA Jack Jones and the Herbaliser’s Ollie Teeba. Soon the crew expanded to include U-George and digger supreme DJ/Emcee Oxygen. The crew released a solid run of LP’s, Ep’s and singles with highlights including Soundsational (Ubiquity Records), the Library sampling ‘My Boosey Weighs a Ton’ (Cavendish Library) and their final LP ‘Walk The Earth’ (Fresh Pressings) with Emcee Supastition joining the roster.

After having helped out his Soundsci crew members U-George, Ollie Teeba and Jack Jones on their solo LPs it is now Jonny’s turn to complete the circle and release his own solo project. ‘The wreckage’ sees Jonny flex his bold yet intricate production style. Carving a new facet into the Hip Hop jewel, expect to hear previously unheard samples and breaks, abrupt breakdowns and exciting rhymes from his circle of friends who lace ‘A’ grade verses over hypnotic drums. The roll call of Emcee’s includes J Scienide, Eddie Meeks from Southern Vangard Radio, Canada’s Ghettosocks and Nilla. NYC stalwart DJ and Emcee Emskee, Jesus Mason and of course his Soundsci brothers: Jack Jones, U-George and Oxygen. The cuts and scratches are provided by DJ Ollie Teeba.

Every track on ‘The Wreckage’ takes the listener on a new sonic adventure and will demand multiple listens to capture the twists and turns Jonny has fed into his diabolical infernal machine, true Hip hop science.

The ever-evolving beat maker and jazz aficionado Shatter Hands audibly took space to grow for his 5th album, amounting to his most versatile body of work yet. His all new approach of recording and sampling musicians around him results in a wild yet super coherent ride through ambient jazz, afro-influenced drum work and stinky basslines that will make you want to get sum. "A Show Of Hands Vol. 1" is packed with knowledge from years of digging and beat making, yet super open and fresh towards the future side of sound.

The tree of good and evil knows no morality in this garden. You took a bite of the forbidden fruit -- but nothing happened. But you do feel the taste of the apple on your tongue, an abundance of amazing and fresh flavor. You look around the garden and see others partaking in whatever pursuit their heart desires. Joy, pain, love, wonder and death. Everywhere you look is a new presence, a new moment of bliss, dystopia and truth. You realize that this garden is your playground, and your destiny can be shaped like clay. Play in the garden, laugh in the garden, fight, die and love in the garden.

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


Warehouse Find!

Marking the first chapter of Hospital Records’ 2020 story is the return of their flagship compilation series, ‘Sick Music 2020’. Loaded with 25 brand new tracks from the world of drum & bass, ranging from fresh original productions to exclusive new remixes and future classics from the Hospital Records family and some very special guests. The album kicks off the year with first-class sonics from the likes of London Elektricity, Kings Of The Rollers, S.P.Y, Grafix, Inja, Fred V, Unglued, Urbandawn, DRS & Dynamite, Kanine and more.

Missing out on that super-chill, uber-jittery minimal groove thing? Let"s get real, real Ghosted again. Oren Ambarchi has been collaborating with the Fire! trio (Mats Gustafsson, Johan Berthling and Andreas Werliin) for over a decade - and both Johan and Andreas played on Oren"s Live Hubris as well. Oren and Johan began music-making together back in the early aughts - but it wasn"t until 2021 that the three of them got together to record music. That became the first Ghosted album. When they were done, it was clear they had founded a new group. A music of sustained tension and deep atmosphere marked by subtle, shifting dynamics, Ghosted was released in May of 2022 to psyched response everywhere; the trio embarked upon an ongoing series of concert bookings around Europe, with loads of other people in the world still hoping to have the chance to be in the room at the next show. Two years on, Ghosted has gone through several represses, now it"s time for the "dreaded follow up album"! Rather than go back to the well, the guys decided to tear everything down and start all over again, reimagining themselves from scratch. Just kidding! As we"ve noted, Oren, Johan and Andreas have been playing together for years and years, developing an essential telepathy within their shared space. They get each other and feed each other"s music processes on an elemental level. Why change that? What made the most sense was to go back to Daneil Bengtsson at Studio Rymden in Stockholm for a couple days, then have Oren and Joe Talia mix and Joe master it at Good Mixture in Melbourne again, then get Pål Dybwik to do some well-distinctive cover art, and once more, call it a record. That"s just what they did - and it should be no surprise at all that the new Ambarchi/ Berthling/Werliin album looks and sounds as engrossing as their debut, if not more so! Ghosted II has a definitively fresh quality radiating throughout. The mutual feeling among the three players goes deep, allowing for lots more to say every time they get together - a further recombination of elements, a new expedition through alternative angles... there"s always more, and incredibly, it"s all improvised, with next-to-nothing prepared going in and minimal overdubs after they"ve laid things down. References are shared in shorthand, with just a single word, like "Santana," or "Police" acting as working titles for certain pieces on this record (have a guess!). It"s a disservice to call them jams: above and beyond the innate feel of the songs, there"s a strong sense of structure, informed by the band"s communal aesthetic, and edified immeasurably by their time spent in concert the last couple years. As noted at the top, these guys balance their music improbably between a relaxed feel and a nervy resolve, as each member holds down their corner in an open sound field. Making Ghosted II, the band found that there"s a different kind of tension making something for an established project rather than the kind one feels making something for the first time - and they used this new variety, as before, as a kind of fuel - driving their terse minimalism fruit-fully through the process of succumbing to and then transcending guilty pleasures. Finding fresh territory in funk sketches, jazzy heads, ambient pastorals and droning soundtrack pieces, Ambarchi, Berthling and Werliin compellingly haunt a mad variety of spaces, leaving us wanting to get Ghosted II.

Following on from his previous two KPM-esque library music releases for the label (Plastic Thought & Wyped Out) Debossed sees Howe ramping up his sound into more rhythmically expansive weirdo club-music territory, taking in everything from footwork, drum & bass, electro, juke and breakcore. The Japanese jazz inspired melodic phrasing is as present as ever, which is paired with affectionate nods to Dreamcast gaming & skate video soundtracks, making for a very fun, fresh and generous listen.

“A master of tricksy computer music.” - The Wire

“The return of Glasweigian, Joe Howe: a prolific noise maker who you may have otherwise known as Ben Butler & Mousepad & Germlin. He’s been doing wonderful things for many years and there’s a whole world of Joe Howe if you want to get involved!”. - Tom Ravenscroft (BBC 6 Music)

A raw-nerved hybrid of elemental Merseybeat, lugubrious surf-noir and sheer sonic assault, the remarkable legacy of Long Island's Mystic Tide has long been venerated within the '60s garage rock pantheon, even if their existential racket only slipped out on a series of painfully rare 45s. Now, the fruit of Joe Docko Jr and friends' cottage industry has been refurbished in best-ever sound, along with fresh insights as to how this singular brand of noise came to be.

A raw-nerved hybrid of elemental Merseybeat, lugubrious surf-noir and sheer sonic assault, the remarkable legacy of Long Island's Mystic Tide has long been venerated within the '60s garage rock pantheon, even if their existential racket only slipped out on a series of painfully rare 45s. Now, the fruit of Joe Docko Jr and friends' cottage industry has been refurbished in best-ever sound, along with fresh insights as to how this singular brand of noise came to be.

On Natura Morta, Sven Wunder is exploring art as a bridge between nature and the human ability to judge and observe in eleven musical compositions with brightly colored textures and an emphasis on vibrant melodies.

Throughout human history, we have depicted the world we live in through art. By reworking what we see in the world, the simplest things have helped us understand the beauty of nature and to evaluate the material world that we have created around us, as a window to a constantly changing reality, through our own perception. It is that absolute reality that appears in the seam of human and nature and that can be revealed through art.

Still life painting, also referred to as Natura Morta (”dead nature”) in Italian, stretches back to ancient times. Some of the earliest works, found in Pompeii, depict commonplace objects such as fresh autumn fruits alongside man-made objects such as a small amphora and a small terracotta heap with dried fruits. These two-thousand-year-old paintings give a snapshot of Roman life, and also creates a link to time and space. A slice of life has been created by binding the earth’s pigments with extracts of oil, made from nuts and seeds, painted with brushes, made from a variety of fibers, such as trees and hair from animals. While life wanes with each brushstroke, by shifting reality into the past, art exists to make us come alive, being a living image of a dead thing, a surface and a symbol with symbolic powers of its own. Still life works celebrate material and ephemeral pleasures by returning to nature as the ultimate source for our standards in art as well as in life itself.

Natura Morta collects pieces from a continuous variety of melodies — supported by a decisive rhythm section — creating a musical kaleidoscope of ever-changing colors. Sven Wunder brings life into this rich assortment of musical implications by fusing and combining melodic instruments with each other in a setting that spans from a classical to a modern idiom. The author evokes this panoramic portrait by articulating an instrumental dialog between a chamber orchestra and a jazz ensemble. The result is a musical celebration of material pleasures that also serves as a reminder of the brevity of human life. This album was produced with financial support from the Swedish Arts Council.

For the better part of the last 15 years, the duo of Max Dameron (guit/vox) and Sam Ford (drums/vox) have been too weird and too wild for this lame-ass planet. After enjoying vagabond stints living in Portland, Los Angeles, and Brooklyn, they now call Detroit home. Here they rebuild, out of the scraps and wreckage of the 21st century, something which casts aside any rules or adherence to banal tropes. Specializing in the unexpected, Max and Sam have wrought an individual sound that’s as much post-Melvins sludge punk as it is futurist prog metal. Their forthcoming self-titled debut, recorded in 2022 at High-Bias in Detroit, puts on display the fruits of their metamorphosis. From the soaring triumphal fuzz of “Uncanny Valley” or the sweep and thrust of “House of Butterflies” their craft is precise, they’re just making up their own shapes to sculpt. Times change and artists mature: now under the name PSYCHIC TRASH, Ford and Dameron come to Riding Easy Records as veterans turning a fresh page, reinvigorated at the prospect of forging a new path and the beneficiaries of about a decade and a half’s slog through the underground. Psychic Trash’s self-titled debut is unmistakably uncompromising, a little theatrical, intermittently manic, and deceptively broad in style for just how much punk rests beneath.

PRESSED ON FRUIT PUNCH COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 2000 COPIES

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin’ (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009’s Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Til The Casket Drops was a departure from the duo of Malice & Pusha T’s previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us ‘Grinding’ & ‘Mr. Me Too’ still helmed 8 of the album’s 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath’s DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn’t lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam’ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…